Vitra Design Museum: George Nelson Installation

© Thomas Dix

In the year 2008, the American designer (1908-1986) would have celebrated his 100th birthday. To commemorate this occasion, the Vitra Design Museum exhibited the first comprehensive retrospective of his work. Nelson was one of the most influential figures in American design during the second half of the twentieth century. With an architectural degree from Yale, he was not only active in the fields of architecture and design, but was also a widely respected writer and publicist, lecturer, curator, and a passionate photographer. His office produced numerous furnishings and interior designs that became modern classics, including the Coconut Chair (1956), the Marshmallow Sofa (1956), the Ball Clock (1947) and the Bubble Lamps (1952 onwards). This same exhibition will be opened from October 29th, 2011 at the Bellevue Arts Museum in Seattle (until February 12th, 2012. More images and exhibition description after the break.

© Thomas Dix

As design director at Herman Miller, a leading US manufacturer of modern furniture design, Nelson had a major influence on the product line and public image of the company for over two decades. He played an essential role in bringing the company together with designers such as Charles Eames, Alexander Girard and Isamu Noguchi. Early on, Nelson was convinced that design should be an integral part of a company’s philosophy, and by promoting this viewpoint, he also became a pioneer in the areas of business communication and corporate design.

© Thomas Dix

As an architect, designer and writer, Nelson was deeply interested in the topics of domestic living and interior furnishings. In the bestselling book Tomorrow’s House (1945, co-authored with Henry Wright), he articulated the groundbreaking concept of the “storagewall”. The walls of a house, Nelson explained, could be used to store things by transforming them into floor-to-ceiling, two-sided cabinets. A revolutionary idea at the time, it anticipated the flood of consumer goods that the economic boom in the western world would soon produce, turning the single-family home into a small warehouse.

© Thomas Dix

Nelson designed several private homes, including a New York town house for Sherman Fairchild (1941, together with William Hamby) and Spaeth House on Southampton beach (1956, together with Gordon Chadwick). As a committed proponent of industrial building methods, Nelson published numerous texts on the topic of prefabricated architecture. In the 1950s he developed the “Experimental House”, a modular system of cubic volumes with Plexiglas roof domes which owners could assemble into personal habitations according to their own spatial requirements.

© Thomas Dix

In addition to his preoccupation with architecture and the domestic interior, Nelson intently pursued the topic of office furnishings. Besides designing the first L-shaped desk, he played a major role in the development of Herman Miller’s Action Office, and in the 1970s he created his own office system, Nelson Workspaces. Similar to Nelson’s home furnishings and experimental architecture, this system was based on a variety of modular elements that could be freely combined.

© Thomas Dix

The extraordinary diversity of design tasks taken on by the Nelson office extends far beyond the field of furniture design, although the latter forms the basis of his reputation today. Numbering among his clients were many large corporations including Abbott, Alcoa, BP, Ford, Gulf, IBM, General Electric, Monsanto and Olivetti, as well as the United States government. In his New York office, which he established in 1947 and ran for more than three decades, Nelson employed over fifty people at times, including familiar figures such as Ettore Sottsass and Michael Graves. Along with exhibitions, restaurant interiors and showrooms, George Nelson & Company designed kitchens, flatware and dishes, record players and speakers, birdhouses and weathervanes, computers and typewriters, company logos and packaging, rugs and tiles.

© Thomas Dix

Nelson’s wide-ranging abilities culminated in the organisation and design of the American National Exhibition in 1959, which was held in Moscow. Nelson and his associates selected several hundred industrial products manufactured by American companies and displayed them on a vast threedimensional multi-level platform designed especially for the exhibition. He also furnished a “model apartment” and designed a large fiberglass umbrella for two other modular exhibition pavilions. The Moscow exhibition made history as the backdrop for the famous “Kitchen Debate” between Nixon and Khrushchev. Similarly spectacular was Nelson’s exhibit for Chrysler at the 1964 New York World’s Fair, which featured a Pop-Art-inspired, 64-foot long “giant car” and a huge walk-in engine as part of the exhibition space. While this Fair still celebrated the automobile, Nelson expressed a more critical view of automotive transportation in his essays and lectures on urban planning. As early as 1943, he outlined the mall concept as an auto-free shopping zone in the article “Grass on Main Street”. In the 1970s he devised plans that would completely eliminate cars from city streets, such as an unrealized project for a holiday village in Portugal.

Cite: Furuto, Alison. "Vitra Design Museum: George Nelson Installation" 03 Nov 2011. ArchDaily. Accessed 28 Nov 2014. <http://www.archdaily.com/?p=180525>